08/01 – 08/05:

Wugazi, 13 Chambers

Wugazi is an epic mash-up of Fugazi and Wu-Tang songs by Swiss Andy and Doomtree’s Cecil Otter. They say they spent over a year combing the Fugazi catalog for songs and song parts that would fit various Wu-Tang acapellas. The music spans Fugazi’s career, while the vocals come from Wu-Tang group albums, solo albums, Gravediggaz, anything Wu-related that would work. Ian and Guy still get to sing a little, too. The results are pretty seamless and surprisingly effective. And best of all, it’s a free download! Get it here.

Wugazi, “Another Chessboxin’ Argument”


The National, Boxer

Among the finest albums of 2007, the best album of The National’s career, one of the most cohesive, coherent, mesmerizing albums I’ve ever heard by anybody... I still can’t get enough of this one years later. The mood it establishes and maintains is so perfect, and all the more impressive for how different the songs can be. Everything seems in opposition, from how the dreamy compositions get paired with high-energy drum parts to how the tender singing hides the often bizarre nature of the lyrics, and yet it all comes together perfectly. Instantly one of my all-time favorite albums.

The National, “Mistaken For Strangers”


Brother Ali, Truth Is Here EP

Truth Is Here, named for a lyric from a song on 2007’s The Undisputed Truth that isn’t even on this EP, is a transitional record in some ways. By the time his last full-length, Us, came out, Brother Ali’s worldview and attitude seem to have shifted dramatically. He seemed less angry, more inclusive, more interesting in sharing the stories of people of all walks of life than raging at the system. But here, that transformation is in progress. Elements of the albums that surround it are present at the same time. The fiery rhetoric mixed with the real life stories, the “Us against the world” attitude beginning to take over. It’s interesting as a time capsule, but it’s also a just a great listen. Every song crackles with energy, from politically-motivated scorchers to more tender romantic fare. It may only have 9 tracks, but it makes every single one count.

Brother Ali, “Baby Don’t Go”


Interpol, Turn on the Bright Lights

In retrospect, this album, as influential and popular as it was, seems like a fluke. Interpol still stayed interesting to varying degrees on subsequent outings, but never came near their debut again. Almost every song is super-catchy in spite of perhaps not making a lot of sense, it has a great tone throughout... It’s still an exciting listen. It’s just too bad it wasn’t a sign of things to come.

Interpol, “Obstacle 1”


The Dead Weather, Horehound

This album sounds like a bunch of friends playing music for fun. In the best way possible. That those friends happen to be from lot of famous bands isn’t really the important thing, though it was certainly what got the band its hype. Its sloppy, fuzzed out, swaggering, blues-drenched romps hit me right between the eyes. It’s not revolutionary, it’s not cutting edge, it’s just a great time. It’s got more attitude and visceral appeal than any of the bands its members hail from, frankly. I never noticed... never even considered... how risque Bob Dylan’s “New Pony” was until I heard Allison Mossheart sing it. Its one of the most fun albums I’ve heard in years.

The Dead Weather, “Treat Me Like Your Mother”


Every Time I Die, Gutter Phenomenon

The very moment in which the Every Time I Die sound coalesced. I like their previous albums, with Hot Damn! probably being my favorite over all, but it was here that they seemed to figure out what they wanted to be doing. It’s tighter than Hot Damn!, less mathcore-ish than Last Night In Town, but still heavy, introduces Keith’s post-screamo vocal style, and lets the Southern rock influence in in a major way for the first time. It all just comes together to make a really enjoyable album, and the blueprint for the ones to follow.

Every Time I Die, “Kill the Music”


Trophy Scars, Never Born, Never Dead

Trophy Scars is yet another band discovered at random on eMusic because of the interesting cover on their 2009 album, Bad Luck. Bad Luck drew me in with one of the more easy to follow concepts I’d ever heard on a concept album. Never Born, Never Dead is also a concept album, seemingly about two lovers searching for each other as they are reincarnated over and over. The music is moody and appropriate to the theme, and singer Jerry Jones’ unorthodox vcoal approach still does it for me. It’s a fine record.

Trophy Scars, “Never Dead”


B. Dolan, Fallen House, Sunken Cities

B. Dolan is a rapper on Sage Francis’ Strange Famous label. His 2nd official full-length, Fallen House, Sunken Cities is a dense, paranoid, electrifying listen. His style changes from song to song as the beat and the material requires, and the material can require quite a lot. Veering from metaphoric social commentary to the story of a vampire hunter to a riveting, intense rumination on the death of Marvin Gaye and more, Dolan’s lyrical choices are as diverse as they are engrossing. Production is handled by Alias, and is versatile and engaging throughout. Dolan is currently working on a 2nd volume of his House of Bees mixtape, and I cannot wait to hear it.

B. Dolan, “The Hunter”


Yup.
--D